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Journal articles on the topic 'Electronic music; Frequency synthesizers'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

Peng, Jing. "Multisensor Speech Enhancement Technology in Music Synthesizer Design." Mobile Information Systems 2022 (June 24, 2022): 1–12. http://dx.doi.org/10.1155/2022/9926708.

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Creating music through sound synthesis is the most representative electronic music creation method, and electronic music is actually the result of sound synthesis technology. Today, the field of electronic music encompasses multiple areas such as recording, mixing, composing, and producing. It also has some advantages over traditional music composition. Voice is the most effective and direct way of communication between people. And with the explosive development of speech recognition technology, the recognition rate of speech recognition systems in the near field environment has been greatly improved. However, in practical applications, there is often a large amount of ambient noise. If these environmental noises are strong, it will seriously affect the quality, accuracy, and speed of music synthesis. This greatly reduces not only the sound quality and clarity of speech but also the speed of speech recognition. To solve these problems, this paper proposes a multisensor speech enhancement technique and implements a multisensor speech enhancement system. It also proposes an enhancement method based on speaker speech and microphone speech. In this paper, the low-frequency harmonic components of the bone conduction signal are used to replace the frequency points disturbed by wind noise to reduce the influence of wind noise on speech quality and intelligibility. The experimental results show that the PESQ and MOS scores of the improved algorithm in this paper are 1.65 and 3.67, respectively. Compared with the existing methods, it has a great improvement. This can effectively improve the voice quality of the music synthesizer and reduce background noise.

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2

Lustig, Ethan, and Ivan Tan. "All about that bass: Audio filters on basslines determine groove and liking in electronic dance music." Psychology of Music 48, no. 6 (March 27, 2019): 861–75. http://dx.doi.org/10.1177/0305735619836275.

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Groove is defined as wanting to move the body to music. Most empirical groove research has focused on rhythmic features like microtiming and syncopation, while research on musical liking has focused on pitch, form, and repetition. Here, we examine the effect of timbre on groove and liking ratings by applying audio filters to basslines in an electronic dance music (EDM) style. We also investigate via questionnaire the role of music and dance experience, preferred genre, and gender on groove and liking. Four brief EDM loops were created, each consisting of drum samples and a synthesized bassline. Each loop had four audio filter conditions (high-pass, band-pass, low-pass, no filter) applied to its bassline. The 102 participants heard all stimuli three times, rating them for groove and liking, and then completed the questionnaire. For both groove and liking, participants gave higher ratings to the filter conditions preserving low-frequency energy (low-pass and no filter). The relation of the questionnaire data to groove and liking was limited, meriting further investigation. Overall, the results suggest that people find groovier, and like more, basslines preserving low-frequency energy. The lack of loop-filter interaction suggests that timbre can determine groove and liking across different melodic and rhythmic contexts.

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3

Liu, Zhixing, Yinghui Quan, Yaojun Wu, and Mengdao Xing. "Super-Resolution Range and Velocity Estimations for SFA-OFDM Radar." Remote Sensing 14, no. 2 (January 7, 2022): 278. http://dx.doi.org/10.3390/rs14020278.

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Sparse frequency agile orthogonal frequency division multiplexing (SFA-OFDM) signal brings excellent performance to electronic counter-countermeasures (ECCM) and reduces the complexity of the radar system. However, frequency agility makes coherent processing a much more challenging task for the radar, which leads to the discontinuity of the echo phase in a coherent processing interval (CPI), so the fast Fourier transform (FFT)-based method is no longer a valid way to complete the coherent integration. To overcome this problem, we proposed a novel scheme to estimate both super-resolution range and velocity. The subcarriers of each pulse are firstly synthesized in time domain. Then, the range and velocity estimations for the SFA-OFDM radar are regarded as the parameter estimations of a linear array. Finally, both the super-resolution range and velocity are obtained by exploiting the multiple signal classification (MUSIC) algorithm. Simulation results are provided to demonstrate the effectiveness of the proposed method.

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4

Shuai, Shao, Liu Aijun, Wang Xiuhong, and Yang Hongjuan. "Polarimetric Direction of Arrival Estimations Based on Adaptive Linear Time-Frequency Transforms." Wireless Communications and Mobile Computing 2022 (August 8, 2022): 1–10. http://dx.doi.org/10.1155/2022/3463438.

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A spatially polarized time-frequency distribution (SPTFD) based on dual-polarized double-fed antenna arrays is adapted to deal with polarization-unstable signals. A linear time-frequency (TF) representation was used for an instantaneous frequency (IF) estimate, primarily due to its simplicity and immunity to cross-interference. Using a set of linear TF transformations using Gaussian windows and Fourier oscillation kernels, the IF estimated window widths of multiple unstable signals are obtained. This paper introduces a new method for estimating the direction of arrival (DOA) of polarized waves using adaptive linear time-frequency transforms. In this paper, a narrowband far-field point source on the receiving array is analyzed. The source signal is split into two orthogonally polarized components. The optimal window is determined by the first derivative of the IF; for this purpose, we take a simple algorithm for solving the derivative and optimize it. In developing TF-adaptive and fully automatic TF display technology, the first method is to use the time-adaptive window for minimizing the IF estimate mean square error (MSE) sum at each moment, while the second procedure is to adjust according to time and frequency and minimize estimate MSE sum at each position in the TF region. Due to its combination with signal polarization, the spatial time-frequency distribution (STFD) gains more freedom and thus perfects the phonon space estimation of noise and signal. On the SPTFD platform, polarized time-frequency multiple signal classification (PTF-MUSIC) is used for the estimation of signal direction of arrival, which outperforms conventional time-frequency MUSIC. Using the example of a synthesized signal, this method outperforms conventional techniques in DOA estimation.

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5

Kaselouris, Evaggelos, Chrisoyla Alexandraki, Makis Bakarezos, Michael Tatarakis, Nektarios A. Papadogiannis, and Vasilis Dimitriou. "A Detailed FEM Study on the Vibro-acoustic Behaviour of Crash and Splash Musical Cymbals." International Journal of Circuits, Systems and Signal Processing 16 (March 30, 2022): 948–55. http://dx.doi.org/10.46300/9106.2022.16.116.

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Advanced numerical simulations, that include modal and frequency response function finite element analysis, frequency domain and time domain finite element method – boundary element method analysis, are performed to study the vibro-acoustic behaviour of crash and splash musical cymbals. The results of the modal analysis agree well with experimental measurements found in literature. The frequency domain and time domain coupled finite – boundary element method simulations, despite their high computational resources and time demands, are used for the crucial comparison of the velocity spectrograms on the cymbal to the radiated sound pressure spectrograms in the air. The computational analysis results show that the splash cymbal is characterized by a faster decay and a higher frequency content compared to the crash cymbal. The advanced multiphysics vibro-acoustic simulations that correlate the displacements and velocities of the vibrated structure with the radiated sound pressure results demonstrate the future capability to synthesize the sounds of cymbal music instruments.

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6

Stephenson, I. M. "Microwave Frequency Synthesizers." Electronics and Power 33, no. 10 (1987): 656. http://dx.doi.org/10.1049/ep.1987.0390.

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7

Phillips, S. H. "Book Review: Microwave Frequency Synthesizers." International Journal of Electrical Engineering & Education 25, no. 2 (April 1988): 189. http://dx.doi.org/10.1177/002072098802500231.

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8

Xu, Yong, Zhi-gong Wang, Yu Guan, Zhi-jun Xu, and Lu-feng Qiao. "GHz band frequency hopping PLL-based frequency synthesizers." Optoelectronics Letters 1, no. 3 (November 2005): 179–81. http://dx.doi.org/10.1007/bf03033836.

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9

Alekshin, Yu I., G. M. Altshuller, O. N. Pavlovsky, E. N. Karyakin, A. F. Krupnov, D. G. Paveliev, and A. P. Shkaev. "Frequency synthesizers up to 370 GHz." International Journal of Infrared and Millimeter Waves 11, no. 8 (August 1990): 961–71. http://dx.doi.org/10.1007/bf01008638.

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10

Sotiriadis, P. P. "Diophantine Frequency Synthesis for Fast-Hopping, High-Resolution Frequency Synthesizers." IEEE Transactions on Circuits and Systems II: Express Briefs 55, no. 4 (April 2008): 374–78. http://dx.doi.org/10.1109/tcsii.2008.919499.

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11

Tai-Cheng Lee and B. Razavi. "A stabilization technique for phase-locked frequency synthesizers." IEEE Journal of Solid-State Circuits 38, no. 6 (June 2003): 888–94. http://dx.doi.org/10.1109/jssc.2003.811879.

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12

Lee, Jaewon, and Seonghwan Cho. "A Quadrature Modulation Transmitter Using Two Frequency Synthesizers." IEEE Transactions on Circuits and Systems II: Express Briefs 54, no. 10 (October 2007): 907–11. http://dx.doi.org/10.1109/tcsii.2007.901625.

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13

Huang, Ke-Nung, and Yu-Pei Huang. "Multiple-frequency ultrasonic distance measurement using direct digital frequency synthesizers." Sensors and Actuators A: Physical 149, no. 1 (January 2009): 42–50. http://dx.doi.org/10.1016/j.sna.2008.09.014.

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14

De Caro, D., E. Napoli, and A. G. M. Strollo. "Direct Digital Frequency Synthesizers With Polynomial Hyperfolding Technique." IEEE Transactions on Circuits and Systems II: Express Briefs 51, no. 7 (July 2004): 337–44. http://dx.doi.org/10.1109/tcsii.2004.829553.

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15

Arora, H., N. Klemmer, J. C. Morizio, and P. D. Wolf. "Enhanced phase noise modeling of fractional-N frequency synthesizers." IEEE Transactions on Circuits and Systems I: Regular Papers 52, no. 2 (February 2005): 379–95. http://dx.doi.org/10.1109/tcsi.2004.841594.

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16

Chao-Ching Hung and Shen-Iuan Liu. "A Noise Filtering Technique for Fractional-$N$ Frequency Synthesizers." IEEE Transactions on Circuits and Systems II: Express Briefs 58, no. 3 (March 2011): 139–43. http://dx.doi.org/10.1109/tcsii.2011.2110390.

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17

Szabo, Z., and G. Kolumban. "How to avoid false lock in SPLL frequency synthesizers." IEEE Transactions on Instrumentation and Measurement 52, no. 3 (June 2003): 927–31. http://dx.doi.org/10.1109/tim.2003.814676.

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18

Pamarti, S. "Digital techniques for integrated frequency synthesizers: A tutorial." IEEE Communications Magazine 47, no. 4 (April 2009): 126–33. http://dx.doi.org/10.1109/mcom.2009.4907419.

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19

Jones, Stephen. "Philippa Cullen: Dancing the Music." Leonardo Music Journal 14 (December 2004): 65–73. http://dx.doi.org/10.1162/0961121043067307.

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This paper discusses one aspect of the work of Philippa Cullen, a dancer, choreogra-pher, community artist and electronic experimenter who worked in Australia and in Europe for a brief period from 1969 to 1975. Covered here is her experimental work with electronic systems that allowed dancers to produce sound and music from their movements. Her primary instrument was the theremin, for which she and her collaborators produced a variety of innovative extensions, from very large aerials, to use with synthesizers. She was an important early exponent of interactivity in the arts, inspiring and teaching many others on her way.

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20

Kattimani, Akshata O. "Implementation of types of VCO." International Journal for Research in Applied Science and Engineering Technology 9, no. 8 (August 31, 2021): 2972–678. http://dx.doi.org/10.22214/ijraset.2021.37881.

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Abstract: A Voltage Controlled Divider (VCO) is a basic building block in most of the electronic systems. Phase-locked loop (PLL), tone synthesizers, Frequency Shift Keying (FSK), frequency synthesizers, etc make use of VCO’s to generate an oscillating frequency that can be decided with the help of components. Voltage Controlled Divider can be implemented for analog applications. The project proposes three types of VCO using Electric tool and LT Spice XVII tool. The three VCO’s that are implemented are CMOS Ring Oscillator, Colpitts Oscillator and Relaxation Oscillator. These circuits generate two oscillating frequencies that is decided by the circult components. Keywords: Voltage Controlled Divider (VCO), CMOS Ring Oscillator, Colpitts Oscillator, Relaxation Oscillator, oscillating frequency.

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21

Van De Bogart, Willard G. "Cracking God’s roof: Manifestation and adaptation on the intuitive nature of creating electronic music with tablet computers." Technoetic Arts 18, no. 1 (March 1, 2020): 73–89. http://dx.doi.org/10.1386/tear_00027_1.

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Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioural sense of using them as a musical instrument that can be played intuitively. Exploring this new interface of musical composition is a subject this article will address as well as the psychological aspects pertaining to how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. It will also discuss how the composer of electronic music can affect the listener’s ability to envision new conceptual landscapes, leading to experiencing new ideas and subjective fields of visionary understandings. The composer’s ability to use conceptual models, which influence the way sounds are made and how those sounds influence the listener’s experience, is an important focus of this article.

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22

Bazhenov, A. A., L. A. Ovcharenko, and A. S. Sizov. "Principles of Construction of Broad-Range Direct Computational Frequency Synthesizers." Telecommunications and Radio Engineering 65, no. 18 (2006): 1675–81. http://dx.doi.org/10.1615/telecomradeng.v65.i18.40.

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23

De Caro, D., and A. G. M. Strollo. "High-performance direct digital frequency synthesizers using piecewise-polynomial approximation." IEEE Transactions on Circuits and Systems I: Regular Papers 52, no. 2 (February 2005): 324–37. http://dx.doi.org/10.1109/tcsi.2004.841592.

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24

Sohn, Jihoon, and Hyunchol Shin. "Initial Frequency Preset Technique for Fast Locking Fractional-N PLL Synthesizers." JOURNAL OF SEMICONDUCTOR TECHNOLOGY AND SCIENCE 17, no. 4 (August 31, 2017): 534–42. http://dx.doi.org/10.5573/jsts.2017.17.4.534.

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25

Mathews, Max. "Techniques for expressive performance of electronic music with real‐time, computer‐controlled synthesizers." Journal of the Acoustical Society of America 87, S1 (May 1990): S40. http://dx.doi.org/10.1121/1.2028210.

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26

Ojani, Amin, Behzad Mesgarzadeh, and Atila Alvandpour. "Modeling and Analysis of Harmonic Spurs in DLL-Based Frequency Synthesizers." IEEE Transactions on Circuits and Systems I: Regular Papers 61, no. 11 (November 2014): 3075–84. http://dx.doi.org/10.1109/tcsi.2014.2321188.

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27

Yang, Y. C., S. A. Yu, Y. H. Liu, T. Wang, and S. S. Lu. "A Quantization Noise Suppression Technique for$DeltaSigma$Fractional-$N$Frequency Synthesizers." IEEE Journal of Solid-State Circuits 41, no. 11 (November 2006): 2500–2511. http://dx.doi.org/10.1109/jssc.2006.883325.

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28

Liscidini, Antonio, Luca Fanori, Pietro Andreani, and Rinaldo Castello. "A Power-Scalable DCO for Multi-Standard GSM/WCDMA Frequency Synthesizers." IEEE Journal of Solid-State Circuits 49, no. 3 (March 2014): 646–56. http://dx.doi.org/10.1109/jssc.2014.2302292.

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29

Yongchul Song and Beomsup Kim. "Quadrature direct digital frequency synthesizers using interpolation-based angle rotation." IEEE Transactions on Very Large Scale Integration (VLSI) Systems 12, no. 7 (July 2004): 701–10. http://dx.doi.org/10.1109/tvlsi.2004.830921.

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30

Sotiriadis, Paul P. "Theory of Flying-Adder Frequency Synthesizers—Part I: Modeling, Signals' Periods and Output Average Frequency." IEEE Transactions on Circuits and Systems I: Regular Papers 57, no. 8 (August 2010): 1935–48. http://dx.doi.org/10.1109/tcsi.2009.2039834.

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31

Ricciardi, Iolanda, Simona Mosca, Maria Parisi, François Leo, Tobias Hansson, Miro Erkintalo, Pasquale Maddaloni, Paolo De Natale, Stefan Wabnitz, and Maurizio De Rosa. "Optical Frequency Combs in Quadratically Nonlinear Resonators." Micromachines 11, no. 2 (February 24, 2020): 230. http://dx.doi.org/10.3390/mi11020230.

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Optical frequency combs are one of the most remarkable inventions in recent decades. Originally conceived as the spectral counterpart of the train of short pulses emitted by mode-locked lasers, frequency combs have also been subsequently generated in continuously pumped microresonators, through third-order parametric processes. Quite recently, direct generation of optical frequency combs has been demonstrated in continuous-wave laser-pumped optical resonators with a second-order nonlinear medium inside. Here, we present a concise introduction to such quadratic combs and the physical mechanism that underlies their formation. We mainly review our recent experimental and theoretical work on formation and dynamics of quadratic frequency combs. We experimentally demonstrated comb generation in two configurations: a cavity for second harmonic generation, where combs are generated both around the pump frequency and its second harmonic and a degenerate optical parametric oscillator, where combs are generated around the pump frequency and its subharmonic. The experiments have been supported by a thorough theoretical analysis, aimed at modelling the dynamics of quadratic combs, both in frequency and time domains, providing useful insights into the physics of this new class of optical frequency comb synthesizers. Quadratic combs establish a new class of efficient frequency comb synthesizers, with unique features, which could enable straightforward access to new spectral regions and stimulate novel applications.

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32

Liu, Qi, Yebing Gan, and Tianchun Ye. "An ultra-fast and high-precision VCO frequency calibration technique for fractional-N frequency synthesizers." IEICE Electronics Express 17, no. 7 (2020): 20200066. http://dx.doi.org/10.1587/elex.17.20200066.

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33

Chung, Hoon Hee, Wenjian Chen, Bertan Bakkaloglu, Hugh J. Barnaby, Bert Vermeire, and Sayfe Kiaei. "Analysis of Single Events Effects on Monolithic PLL Frequency Synthesizers." IEEE Transactions on Nuclear Science 53, no. 6 (December 2006): 3539–43. http://dx.doi.org/10.1109/tns.2006.886217.

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34

Daryoush, Afshin S., and Tianchi Sun. "Multi-Mode Lasers for Self-Forced Opto-Electronic Oscillators in Compact Frequency Synthesizers." IEEE Journal of Microwaves 1, no. 2 (2021): 625–38. http://dx.doi.org/10.1109/jmw.2021.3065037.

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35

Turner, Steven Eugene, and Joseph D. Cali. "Phase Coherent Frequency Hopping in Direct Digital Synthesizers and Phase Locked Loops." IEEE Transactions on Circuits and Systems I: Regular Papers 67, no. 6 (June 2020): 1815–23. http://dx.doi.org/10.1109/tcsi.2020.2972368.

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36

Brennan, P. V., Hongyu Wang, Dai Jiang, and P. M. Radmore. "A New Mechanism Producing Discrete Spurious Components in Fractional-$N$ Frequency Synthesizers." IEEE Transactions on Circuits and Systems I: Regular Papers 55, no. 5 (June 2008): 1279–88. http://dx.doi.org/10.1109/tcsi.2008.916694.

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37

ElSayed, A. M., and M. I. Elmasry. "Phase-Domain Fractional-<tex>$ N $</tex>Frequency Synthesizers." IEEE Transactions on Circuits and Systems I: Regular Papers 51, no. 3 (March 2004): 440–49. http://dx.doi.org/10.1109/tcsi.2003.820241.

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38

Wu, Ting, Pavan Kumar Hanumolu, Kartikeya Mayaram, and Un-Ku Moon. "Method for a Constant Loop Bandwidth in LC-VCO PLL Frequency Synthesizers." IEEE Journal of Solid-State Circuits 44, no. 2 (February 2009): 427–35. http://dx.doi.org/10.1109/jssc.2008.2010792.

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39

Sotiriadis, Paul P. "Exact spectrum and time-domain output of flying-adder frequency synthesizers." IEEE Transactions on Ultrasonics, Ferroelectrics and Frequency Control 57, no. 9 (September 2010): 1926–35. http://dx.doi.org/10.1109/tuffc.2010.1640.

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40

Genovese, Mariangela, Ettore Napoli, Davide De Caro, Nicola Petra, and Antonio G. M. Strollo. "Analysis and comparison of Direct Digital Frequency Synthesizers implemented on FPGA." Integration 47, no. 2 (March 2014): 261–71. http://dx.doi.org/10.1016/j.vlsi.2013.09.001.

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41

Wang, Hao X., Wei Zhang, Yan Y. Liu, and Liang Zhang. "A low phase noise LC-VCO for phase-locked frequency synthesizers." Microwave and Optical Technology Letters 56, no. 6 (March 18, 2014): 1486–92. http://dx.doi.org/10.1002/mop.28337.

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42

Rodgers, Tara. "Tinkering with Cultural Memory." Feminist Media Histories 1, no. 4 (2015): 5–30. http://dx.doi.org/10.1525/fmh.2015.1.4.5.

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In 2015, analog synthesizers are resurgent in popular appeal. Robert Moog is often celebrated as the central and originary figure who launched a so-called revolution in sound by making synthesizers widely available in the late 1960s and early '70s. This essay examines the figure of the humble tinkerer, as exemplified by Moog, along with other historically specific and archetypal forms of masculinity that are embodied by the male subjects at the center of electronic music's historical accounts. Critical readings of audio-technical discourse, and of the periodization of synthesizer histories, reveal that women are always already rendered out of place as subjects and agents of electronic music history and culture. Yet a set of letters, written by young women across the United States to Harry F. Olson at the Radio Corporation of America (RCA) in the mid-1950s and analyzed in this article, demonstrates that women were an enthusiastic audience for the RCA synthesizer a decade before Moog built his prototypes. As they did with new media, including wireless radio and the phonograph, in the early twentieth century, women played a key role at midcentury in enabling the broad-based market for analog synthesizers that greeted Moog and others in the 1960s once these instruments were made available for widespread use.

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43

GIBBS, LIAM E. "Synthesizers, Virtual Orchestras, and Ableton Live: Digitally Rendered Music on Broadway and Musicians’ Union Resistance." Journal of the Society for American Music 13, no. 03 (August 2019): 273–304. http://dx.doi.org/10.1017/s1752196319000208.

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AbstractAs Broadway musicals embrace contemporary popular music styles, orchestrators must incorporate the digital technologies necessary for producing convincing simulations of genres like hip hop and electronic music. At the same time, as production values soar, producers work to minimize their budgets, often putting downward pressure on the size of the orchestra. Although digital and electronic music technologies can expand the sonic register of the Broadway orchestra, they can also replace traditional acoustic instruments and save money. The Broadway musicians’ union, Local 802, has regularly sought to control the use of digital technologies and ensure that live musicians produce as much music as possible. Thus, Local 802's advocacy for the employment of their members can limit the sounds heard on Broadway.The following narrative considers three digital technologies—synthesizers, virtual orchestras, and Ableton Live—and examines case studies and controversies surrounding their use in Broadway orchestras and implications for liveness in performance. Informed by interviews with industry professionals, author observation of pit orchestras in rehearsal and performance, archival research, popular and industry media, and previous scholarship, I argue that the union's entrenched interests and antiquated regulations can stifle musical innovation on Broadway by resisting the use of digital music technologies.

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44

Sotskov, Denis I., Vadim V. Elesin, Alexander G. Kuznetsov, Nikita M. Zhidkov, Igor O. Metelkin, Konstantin M. Amburkin, Dmitry M. Amburkin, Nikolay A. Usachev, Dmitry V. Boychenko, and Varvara V. Elesina. "Displacement Damage Effects Mitigation Approach for Heterojunction Bipolar Transistor Frequency Synthesizers." IEEE Transactions on Nuclear Science 67, no. 11 (November 2020): 2396–404. http://dx.doi.org/10.1109/tns.2020.3015560.

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45

Yu-Che Yang and Shey-Shi Lu. "A Quantization Noise Pushing Technique for $\Delta\Sigma$ Fractional-$N$ Frequency Synthesizers." IEEE Transactions on Microwave Theory and Techniques 56, no. 4 (April 2008): 817–25. http://dx.doi.org/10.1109/tmtt.2008.918166.

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46

Chambon, Damien, Michel Lours, Frederic Chapelet, Sebastien Bize, Michael Tobar, Andre Clairon, and Giorgio Santarelli. "Design and metrological features of microwave synthesizers for atomic fountain frequency standard." IEEE Transactions on Ultrasonics, Ferroelectrics and Frequency Control 54, no. 4 (April 2007): 729–35. http://dx.doi.org/10.1109/tuffc.2007.306.

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47

Chenakin, Alexander, and Victor Kochemasov. "ARCHITECTURE SOLUTIONS FOR DESIGNING OF MICROWAVE FREQUENCY SYNTHESIZERS BASED ON PHASED LOCKED LOOP." T-Comm 14, no. 10 (2020): 17–25. http://dx.doi.org/10.36724/2072-8735-2020-14-10-17-25.

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Frequency synthesizer – as a main module for modern communication systems, test-and-measurement equipment and other electronic devices – should meet certain requirements. The most important requirements include spectral purity of generated signal (low phase noise and spurs), fast switching speed and high frequency resolution (low step size). Other important characteristics include low power consumption, small size and low cost. Thus, the main design goal is selecting proper solutions to support these requirements. This article describes various architectures used to design frequency synthesizers based on phase locked loop.

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48

Boudot, R., S. Guerandel, and E. de Clercq. "Simple-Design Low-Noise NLTL-Based Frequency Synthesizers for a CPT Cs Clock." IEEE Transactions on Instrumentation and Measurement 58, no. 10 (October 2009): 3659–65. http://dx.doi.org/10.1109/tim.2009.2019306.

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Meigh-Andrews, Chris. "Peter Donebauer, Richard Monkhouse and the Development of the EMS Spectron and the Videokalos Image Processor." Leonardo 40, no. 5 (October 2007): 463–67. http://dx.doi.org/10.1162/leon.2007.40.5.463.

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Abstract:

The author details the development of two early color video synthesizers, the EMS Spectron and the Videokalos Image Processor, and examines their influence on video-based art. The Spectron, developed by Richard Monkhouse for Electronic Music Studios, influenced both its creator and various artists in the development of video-based art and images. Artist Peter Donebauer collaborated with Monkhouse to produce the Videokalos, leading to several artworks and a series of live performances.

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Cardells-Tormo, F., and J. Valls-Coquillat. "Area-optimized implementation of quadrature direct digital frequency synthesizers on LUT-based FPGAs." IEEE Transactions on Circuits and Systems II: Analog and Digital Signal Processing 50, no. 3 (March 2003): 135–38. http://dx.doi.org/10.1109/tcsii.2003.809716.

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